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Channel based audio production techniques for immersive delivery of Classical chamber music albums 24

Channel based audio production techniques for immersive deli...

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24th International Congress on Acoustics, ICA 2022

作者： King, Richard Graduate Program in Sound Recording McGill University Canada

The consumer market for immersive audio is steadily gaining ground, as various audio companies, record labels and streaming services develop and expand their catalogs of 3D music recordings. The greatest growth has been seen in the vast offerings of binaural listening experiences over headphone playback. More and more, production teams are required to deliver both stereo and immersive masters as part of classical music recording projects, even for smaller groups such as chamber music albums. This paper will explore the steps taken at the recording session during audio capture as well as the various techniques employed during the mixing stage to create both stereo and multichannel immersive masters. While object-based technologies and ambisonic capture offer great flexibility in post-production, channel-based techniques offer high quality sound and a good sense of envelopment for the listener. Microphone selection and placement will be discussed, as well as equalization and time alignment, use of delays and the use of multichannel reverberation as part of the process of building the immersive environment. Photos, measurements and diagrams from recent recordings will be used to justify and support the various techniques implemented during production. © ICA *** rights reserved

关键词： Immersive Audio Music production sound recording

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Listen to the Theatre! Exploring Florentine Performative Spaces

Listen to the Theatre! Exploring Florentine Performative Spa...

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2023 Immersive and 3D Audio: from Architecture to Automotive, I3DA 2023

作者： Gozzi, Andrea Grazioli, Gianluca Florence Italy McGill University Graduate Program in Sound Recording Schulich School of Music Montréal Canada

ISBN: (纸本)9798350311044

A music performance space constitutes the frame as well as the content of the listeners' experience. The acoustic environment forces continuous negotiations that differ according to a listener's role and position as conductor, performer or audience member. The aim of this research is to investigate the acoustics of a performative space, the Teatro del Maggio Musicale Fiorentino in Florence, following two complementary paths, both based on an interactive model. The first one offers an impulse-response experience: the user can virtually explore the opera hall by choosing between the binaural reproductions of 13 different listening positions whether off-site (using an audiovisual web app) or on-site, through bone conduction *** second one is about the aural and visual perception of a rehearsal of the romance "Una furtiva lagrima"from Donizetti's opera L'elisir d'amore. Through the use of ambisonics recordings, 360 degrees videos and a virtual reality headset, the user can experience the performance from three different points of the theatre alternatively: on stage, in the orchestra pit and in the audience area. The three different perspectives can be switched instantaneously using a remote controller. © 2023 IEEE.

关键词： Impulse response

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LFE - Friend or Foe? The Pros and Cons of the Low Frequency Effect Channel 154

LFE - Friend or Foe? The Pros and Cons of the Low Frequency ...

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AES Europe 2023: 154th Audio Engineering Society Convention

作者： King, Richard Theriault, Marc Graduate Program in Sound Recording McGill University Montréal Canada LeLab Mastering Montréal Canada

ISBN: (纸本)9781713877783

The Low Frequency Effect or LFE channel originally developed for use in film sound has now become a common tool for immersive music mixers looking to enhance low frequency program material. Extra warmth and power can be easily added using this single channel of exclusively low frequency content, normally band limited to 20-120Hz. Potential problems may arise, however, as LFE level settings vary greatly from room to room. Downmixes from multichannel to binaural renders may exhibit some cancellation when the LFE is summed with other channels such as left, right and center. The filtering of the LFE channel may also affect the result of channel summing in down-mixes, whether minimum or linear phase is used. Various low frequency measurements are shown in the paper, comparing the differences between summing processes and filter types used for binaural renderers currently in use by a few commercial streaming services. © 2023 AES Europe. All Rights Reserved.

关键词： Cryptography

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Creative Collaboration in the recording Studio 154

Creative Collaboration in the Recording Studio

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AES Europe 2023: 154th Audio Engineering Society Convention

作者： Brackett, David King, Richard Barg, Lisa Massenburg, George Music History and Musicology Program McGill University Montréal Canada Graduate Program in Sound Recording McGill University Montréal Canada

ISBN: (纸本)9781713877783

The recording studio as a site for creative collaboration has received growing attention over the past two decades by scholars, a range of studio practitioners, and those who combine some or all of these competencies. This presentation builds on recent scholarship via the scholarly collaboration of an interdisciplinary research team consisting of two producer-engineers and two musicologists. Taking a recording session conducted in November 2018 as the material for our study, we focus both on musical interactions and the interpersonal dynamics that affect the flow of various contributions and ideas during the recording process. The material for our analysis will consist of video recordings made during the sessions, which will be supplemented by the recollections of participant-observers. © 2023 AES Europe. All Rights Reserved.

关键词： Studios

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"There’s Some Sh*t in There": Communication Strategies in the recording Studio 156

"There’s Some Sh*t in There": Communication Strategies in t...

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AES Madrid 2024: 156th Audio Engineering Society Convention

When musicians, producers, and engineers interact in the recording studio, how do they communicate and negotiate their differences to reach consensus? This paper will address two communication strategies that use a range of sonic associations and aesthetics: 1) the use of metaphors;and 2) the use of references to other recordings, artists, and genres. Using video recordings and interviews with participants, this paper focuses on how these different communication strategies had a significant impact during recording sessions made in November 2019 at McGill University in Montréal. © AES Madrid 2024: 156th Audio Engineering Society Convention. All rights reserved.

关键词： Audio studios

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Preliminary evaluation of a sound system employing a cancelling auralizer for producing virtual rooms in a modern recording studio

Preliminary evaluation of a sound system employing a cancell...

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2023 Immersive and 3D Audio: from Architecture to Automotive, I3DA 2023

作者： Grazioli, Gianluca Baran, Vlad Zhang, Kathleen Ying-Ying Aydin, Aybar Woszczyk, Wieslaw McGill University Cirmmt Graduate Program in Sound Recording Montréal Canada McGill University Cirmmt Faculty of Music Montréal Canada

ISBN: (纸本)9798350311044

We investigate the operation of a virtual acoustic system (VAT) in the Immersive Media Laboratory (IMLAB) at McGill University, and the benefits offered by a real-time cancelling auralizer currently under development at CCRMA of Stanford University and the University of Limerick. The feedback-cancelling system reduces the likelihood of feedback and howling in live real-time auralizations of acoustic spaces through in-room microphone capture and loudspeaker reproduction. Amplified microphone signals are sent to a feedback cancellation network that convolves them with a variety of captured or synthesized multichannel impulse responses, and reproduces them via loudspeakers. One of the research purposes of VAT is to investigate the degree of similarity that can be achieved between the acoustics of a real space and its recreated virtual version. We present a preliminary analysis focused on measuring the main acoustical parameters according to ISO 3382-1 created under different virtual acoustical conditions. Ongoing research examines the interactions of professional musicians with the current state of the system, which will be continuously investigated in the near future. The work is carried out in collaboration with the authors of the feedback-cancelling technology. © 2023 IEEE.

关键词： Loudspeakers

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Techniques for approximating aural characteristics of acoustics of coupled volumes in music production 24

Techniques for approximating aural characteristics of acoust...

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24th International Congress on Acoustics, ICA 2022

作者： Woszczyk, Wieslaw Benson, David H. The Graduate Program in Sound Recording McGill University Canada The Centre for Interdisciplinary Research in Music Media and Technology Canada

Coupled volumes contained in physical enclosures enable multilateral movement and exchange of acoustic energy between the interior spaces. The complex flow of energy creates distinct features of reverberance having spatial pulsation and directional movements in decaying sound. These are aural qualities helping listeners to recognize the acoustical character and identity of ambience immersing musical sources in acoustical enclosures. In the process of music production, signal processing techniques can be used to augment spatial presence of ambient acoustics in recorded sound. In this paper we explore techniques which impose complex acoustical decay treatment on the ambient sound to create an impression of active space around the source and listener. One method is based on combining room impulse responses divided into temporal segments that superimpose different aural features as animations within perceptual streaming of a singular multifaceted space. Another technique relies on modifying the energy envelope of decaying sound to create double- and multi-slope decay characteristics with the corresponding changes in aural quality. The paper will illustrate manipulations that mimic perceived acoustics of coupled volumes based on signal adjustments done by sound designers to achieve desired acoustical quality. The adjustments articulate the consonant role acoustic space plays in musical performance. © 2022 Proceedings of the International Congress on Acoustics. All rights reserved.

关键词： Enclosures

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Channel-based versus ambisonics techniques for capture and auralization of room impulse responses 24

Channel-based versus ambisonics techniques for capture and a...

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24th International Congress on Acoustics, ICA 2022

作者： Woszczyk, Wieslaw Kelly, Jack The Graduate Program in Sound Recording McGill University Canada The Centre for Interdisciplinary Research in Music Media and Technology Canada

Room impulse response (RIR) measurements provide essential spatio-temporal information about the acoustical quality of the room and the conditions of the measurement. Having access to high quality RIRs facilitates music and multimedia productions because RIRs are the essential building blocks of spatial sound design. Elements of music recorded closely or separately (isolated in space or time) can be convolved with ambient environments that lend them new aural perspectives and spatial dimensions having immersive quality of 3D realism. Using convolution, aural dimensions of space can be changed in time to accommodate interactive and dynamic control. This paper considers channel-based and Ambisonics-based techniques of capturing and auralizing RIRs to review their utility and efficacy in music production processes. Criteria of comparison include quality of ambient immersion, signal processing load, accessibility to RIRs, and considerations of dynamic adjustability and interactive use. We conclude that both techniques offer distinct advantages and valuable reasons for being chosen. We note that each technique requires sophisticated implementation if it is to deliver maximum of benefits. Both methods will likely coexist. © ICA *** rights reserved

关键词： Ambisonics Electroacoustic Measurement Impulse Response Music Production Spatial Audio

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A Practical Approach to the Use of Center Channel in Immersive Music Production 155

A Practical Approach to the Use of Center Channel in Immersi...

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AES New York 2023: 155th Audio Engineering Society Convention

作者： King, Richard Theriault, Marc Massenburg, George Graduate Program in Sound Recording McGill University Montréal Canada Le Lab Mastering Montréal Canada Massenburg Design Works NashvilleTN United States

ISBN: (纸本)9781942220435

The center channel has been around since the mono playback systems employed in early film sound. At the advent of stereo reproduction, the film world adopted a three-channel setup, where the center channel was used for anchoring dialog to the action on screen, while ambiences and music soundtracks took advantage of the width and spread of the left and right channels. Since the beginning of 5.1 surround sound, center channel has received mixed reviews by music production practitioners. Immersive mixers using binaural rendering may not be considering center channel information as a component of a "headphone-only" mix. Engineers working on loudspeakers may also overlook the benefits of the center channel. This paper provides an overview of best practices for center channel use in immersive audio mixing. Various measurements are shown to exemplify the differences between the use of center channel versus phantom center. © AES New York 2023. All rights reserved.

关键词： Cell proliferation

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Reproducing Virtual Acoustic Environments in the recording Studio: Part 1 155

Reproducing Virtual Acoustic Environments in the Recording S...

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AES New York 2023: 155th Audio Engineering Society Convention

作者： Aydin, Aybar Zhang, Kathleen Ying-Ying Baran, Vlad King, Richard Woszczyk, Wieslaw Graduate Program in Sound Recording McGill University Montréal Canada The Centre for Interdisciplinary Research in Music Media and Technology MontréalQCH3A 1E3 Canada

ISBN: (纸本)9781942220435

The second generation of the Virtual Acoustic Technology (VAT) Laboratory at McGill University features a new real-time auralizer with a feedback canceller developed by CCRMA at Stanford University, allowing for the creation of a virtual acoustic environment with exceptionally high gain. As the first part of a two-paper study, we employ a 1:1 microphone to speaker configuration method to capture impulse responses from two performance halls. Then the halls are "recreated" acoustically with the VAT system in the studio and an acoustic analysis is performed on the real halls and on the "virtual halls" to investigate the effectiveness of the reproduction system. © AES New York 2023. All rights reserved.

关键词： Studios

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